Use this URL to cite or link to this record in EThOS: | https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518483 |
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Title: | Handel's 'Messiah' : the creative process | ||||
Author: | Babington, Amanda-Louise B. |
ISNI:
0000 0004 2689 5586
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Awarding Body: | University of Manchester | ||||
Current Institution: | University of Manchester | ||||
Date of Award: | 2010 | ||||
Availability of Full Text: |
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Abstract: | |||||
The primary aim of this study is to utilise Messiah as a case study into
Handel's creative process, attempting to examine details of its composition in
chronological order, for the purposes of exposing and exploring Handel's creative
decisions and methods. This means that the study is divided into chronological
sections and, as the creation of the libretto of Messiah is inextricably linked to the
creation of the musical work, the study begins with an investigation into the cultural
precedents to the libretto of Messiah, the libretto's genesis and Charles Jennens's aim
in (and method of) constructing it. Sketches and other 'pre-compositional' material
form the next stage for discussion, raising the issue of Handel's well-known
propensity to re-use his own and others' music. Handel's methods of creating the
autograph score are then outlined in preparation for an analysis of the alterations that
he made to the autograph during the work's initial composition. The focus then shifts
towards the conducting score for an exploration of the various types of later alteration
that some movements in particular were subjected to, examining Handel's reasons for
selecting movements for alteration, the possible circumstances behind the changes
and his methods of marking alterations in both the autograph and conducting scores,
before assessing the role of these later alterations as part of the work's creation.
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Supervisor: | Not available | Sponsor: | Not available | ||
Qualification Name: | Thesis (Ph.D.) | Qualification Level: | Doctoral | ||
EThOS ID: | uk.bl.ethos.518483 | DOI: | Not available | ||
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